Veerappan is an upcoming Bollywood biographical crime/action/thriller film, starring Sandeep Bharadwaj, Sachiin J. Joshi, Usha Jadhav and Lisa Ray in prominent roles. The film is directed by Ram Gopal Varma, and produced by Raina Sachiin Joshi. The movie is a biopic of bandit Koose Muniswamy Veerappan, dominant in the Sathyamangalam Forest in the states of Karnataka, Tamil Nadu, and Kerala, and it revolves around his life and the events leading to Operation Cocoon, the mission to capture and kill him. Ram Gopal Varma had directed a Kannada movie named ‘Killing Veerappan’ that released earlier this year, but this, he claims, is not a remake of it. There are absolutely no hopes from the music of a gangster film, more over, a Ram Gopal Varma film, and it shocked me to see Jeet Gannguli as one of the composers. He has one song in the album, and the remaining three tracks are by duo Sharib-Toshi, from whom I’ve stopped expecting good music after ‘1920 London’ and ‘Housefull 3’. They have actually composed only one song, in two versions, and the third song is a remake of the superhit ‘Khallas’ (Company) by Sandeep Chowta, who I’ve credited, but T-Series hadn’t. So. Let’s check this small album out, and I’m starting with the least of expectations.

Jeet Gannguli gets to start off the album with his sole composition in the album. He decides to create a folkish song that is very perfect for a song that is being sung at some type of celebration at a gangster hideout. Folksy woodwinds kick start the song, followed by a catchy folk string instrument (probably rabaab). I must say, Jeet has made a great attempt at giving a perfect gangster song, that would suit the theme of the film. However, the composition gets very boring after the mukhda. The hookline has no spunk, and the antaras are lifeless, with no actual tune to really make them catchy or appealing. The variations in the tune actually work against the song. The first antara, is very stale, while the second is at least decent. The “Chalat raho, ladat raho” chants are pretty irritating too. Mohan Kannan’s brilliant and energetic voice seems to infuse a god amount of life into the lifeless composition, but it still falls short of the standard. There are so many different voices, that I doubt Mohan sang it all by himself. The saving grace of the song is Jeet’s awesome arrangements. He has put in all his efforts to make the song sound genuinely gangster-ish, and his efforts have bore the desired fruit. The various sound effects, and the string instrument, percussion and woodwinds, all stand out beautifully. Especially the strings and percussion. Interludes are gripping and frankly, it is just the arrangements that make you hear the song multiple times. The rock guitars added in places are commendable. Manoj Muntashir’s lyrics go well with the composition and the theme of the movie, but I don’t know why he wrote about the “Muchhi” (Moustache). Looking at the poster of the movie and Veerappan’s appearance though, that’s reasonable! 😂 A great attempt at something different from Jeet Gannguli. Arrangements are spot-on, while in the other departments, he needs to make some serious improvement! Fantastic attempt considering that it isn’t Jeet’s forte!

Here come Sharib & Toshi with their first song in the album. The song has been included in two versions in the album, and what I don’t understand is, why!!????!! Is it just to force us to hear the pathetic song twice? I don’t know, but it sure seems so. The song is an attempt at creating something scary and frightening, but it comes across as cheap. First of all, Payal Dev in a screechy voice, trying to sound like Monjulika (Heck, Monjulika sounds better!) is not the usual idea we have of a gangster theme song. She has tried with all her might to be as cheap as possible, and I am pretty sure she won’t try such a song again. If she does, I have no comments. 😛 Sharib-Toshi’s base composition is really bad, and it has literally nothing to like, except maybe the hookline. The hookline has actually been composed seriously. Everything else has been composed like they are deliberately trying to be scary. Every time Payal comes to sing her parts, a different weird tune has been composed for each part. And guess what, her parts are reprises of children’s nursery rhymes! Manoj Yadav has just spoiled so many kids’ childhood! Take this: “Lalla Lalla Lori, Khoon Ki Katori” and “Jungle Jungle Baat Chali Hai Pata Chala Hai, Veerappan Khoon Karne Ko Nikala Hai”. I don’t feel like giving more examples. I mean, how are these lyrics even approved? Another line blatantly goes, “Narsanhaar Ki usey lagan Hai”. I’m like “Okayyyyyyy….?” And then they shamelessly use the “Shiva Mrutyunjay Mantra” at the end. 😂😂 The mantra which was so beautifully used in two songs of ‘Neerja’, now gets to feature in a BEAUTIFUL song of ‘Veerappan’! Congrats! 😒😨 Arrangements are slightly okay, compared to the rest of the song. The hookline has a groovy beat to it with manjeeras and tablas. The rest of the song has techno sounds, an overdose of EDM, ghouls screeching (ghouls have become a prominent musical instrument nowadays, I guess! ) and lions roaring. And one guy who keeps yelling “Rrraaa!” The “Rap Version” just has some rap by someone called Vee. (What if that’s Veerappan himself! :O Oh I’m so scared!) The rap is in English and it’s pathetic. “I promise your life will come to an end.” and such is the award-deserving rap. I can’t un-hear that… So I’m rescuing you… Don’t hear it!!

Sandeep Chowta’s ‘Khallas’ (Company) has been featured on this album and there’s another addition to the list of bad remakes. What’s more, this song is what I will call a ‘Copy Remake’. Before you think that I’m stupid, by thinking that remakes are always copies technically, let me be clear. The fact that it is a remake is a different story. The song’s beats have been copied from a song which is not the song of which it is a remake! Yes, you heard me right! The song is a remake of ‘Khallas’ but its beats are the same as the beats of the song ‘Get Low’ from the ‘Furious 7’ soundtrack. That’s why they’re so impressive. That whole Arabic theme and all. But it’s not original, it is ‘inspired’. Speaking about the composition, nothing much new has been added except the antara, which has a boring tune too. What’s worse, Jasmine’s voice serves as a spoilsport for the whole thing. If Asha Bhosle hears it, she’ll be shocked at how they’ve reduced her song to something stupid. The lyrics have been changed for the worse. ‘Ye hai ishq samjha tujhe kar dega khallas’ has been very happily changed to ‘Ye hai maut Teri, tujhe kar hi dega khallas’. Sharib-Toshi’s new composition for the antara is pretty irritating, coupled with the lyrics. And when Jasmine sings it, it is just cheap. ‘Bachke Tu Rehna’ from this song!!!

Veerappan turned out just as expected. Sharib-Toshi continue on their disappointing spree of cheap songs, while Jeet Gannguli actually tries to raise the level of the album! I guess nothing more could’ve been expected from a gangster film, right? Instead of Veerappan, I would call the album Kaayar-appan!! (‘Veer’ = brave, ‘kaayar’ = scaredy-cat 😂)

Housefull 3 is an upcoming Bollywood comedy film, starring Akshay Kumar, Riteish Deshmukh, Abhishek Bachchan, Jacqueline Fernandez, Lisa Haydon and Nargis Fakhri in lead roles, with Boman Irani and Jackie Shroff in supporting roles. The film is directed by Farhad-Sajid, and produced by Sajid Nadiadwala. The movie is the third part in the ‘Housefull’ franchise, and we can see where the franchise is heading. The quality of the second part was nohere near that of the first; I doubt that the third one will even match the second, going by the trailer. As for the music, the first part had an awesome and enjoyable album by Shankar-Ehsaan-Loy. The second had quite a decent album by Sajid-Wajid, which didn’t match up to the first, but was good anyway. The third part however, has a multicomposer album, and I’ve seen where multi-composer albums go with comedy films (Ahem, ‘Welcome Back’, we’re hinting at you…!) The list of composers isn’t so impressive, either, and each team gets only one song, so, yeah…! Sharib-Toshi, fresh from the success (*cough cough*) of their three songs from the ‘1920 London’ album, are the first music directors in the album. Not expecting something great from them, but I will be happy if they manage to give something good, because here they can’t give typical Bhatt-ish stuff, can they? 😂 The next is Sohail Sen. I wonder from where he ended up doing this album, but nevertheless, expectations are high from him as he seems to be the composer I like the most in this album! After ‘Gunday’, a great song is expected. The third composers on the list are Mika Singh and his all-time partner Millind Gaba. (I think it’s the other way around.. Mika is the partner of Millind… I guess…?) I am not expecting anything from them, going by their ridiculous title song in ‘Welcome Back’. And the last composer is Tanishk Bagchi. Now, he has been impressing right from ‘Tanu Weds Manu Returns’ to ‘Kapoor & Sons’ to the recent ‘Sarbjit’. He had got a rom-com action film ‘Direct Ishq’ in between, where he didn’t impress much, so let’s see how he does in this rom-com! Read on to find out how the songs of the much awaited ‘Housefull 3’ are!

Sharib-Toshi, back after their middling songs in ‘1920 London’ (I thought they wouldn’t dare to make music after that!) get the very first song in the album. Sharib-Toshi have had a decent track record with upbeat songs, the best being ‘Emotional Fool’ (Humpty Sharma Ki Dulhania) for me. Here, they give an upbeat track with literally no meaning, except a trying-to-be-catchy composition, which works to some extent. The makers play it safe by employing four lyricists on this track, so we can’t catch the culprit who is feeding nonsense to our ears! Well, good escape!! Sharib-Toshi’s composition does appeal on and off, but when it does, something has to spoil it — either the lyrics or the vocals. Frankly, the composition is catchy. A hookline that is perfect for Bollywood and specifically, such movies in Bollywood, does grab your attention, while the other parts of the song have been composed pretty good too. Divya’s Qawwali portion is a good addition. In spite of the decent composition, the lyrics are atrocious. Manoj, Farhad, Sajid and Danish team up to give lyrics that try to be smart with a very stupid double meaning hookline, that doesn’t even shock you in the least. In the rap portion, I’m guessing written by Danish, as I can even hear him singing (though not credited!), it is suggested that the relationship of two lovers is just like that of bread and JAM! 😛 In the song, the moon gains weight (“Chaand ko chadh gayi hai charbi”) and the Sun starts talking in Arabic! (“Sooraj bhi laga bakkne Arabi”) These idiotic lines make the song appeal even more, and cater to your laughter. And the rap (I’m mentioning it again..) is a must-hear! 😂😂 On the vocals front, two singers try to save the song, with Nakash using his totally lovable voice, and Divya singing a wonderful Qawwali bit. Anmol, however, is back with her over-stylish vocals singing ‘baby’ like ‘baibaa’ and interfering by inserting random “yeaaahh”s everywhere. Earl’s rap is stupid. Sharib-Toshi’s arrangements are catchy, too. Mostly techno sounds, but they do surprise by adding good Spanish guitars and harmonium in between. A ridiculously funny start to the album! This time Sharib-Toshi do commendably well, but others spoil their work! Oh, yeah.. And salute to the lyricists! They’re surely gonna win awards worldwide for that!

Here comes another song with a Topsy-Turvy name. Sohail Sen holds the baton for this one, and fails to do much wonder with it. The composition is the typical Bollywood-Dappankuthu combo, with the typical kuthu rhythm supporting the Bappi Lahiri-styled composition. Sohail tries hard to create another ‘Tune Maari Entriyaan’, but fails miserably. All he manages to create is a decent dance track, which isn’t a sureshot earworm. The composition being very stale and heard-before types, it does not appeal as much as ‘Tune Maari Entriyaan’ either. Sohail has roped in Mika as the lead male singer, singing for three actors, while Mamta and Neeti get their voices superimposed on each other, and thank God Neeti’s voice is clearly audible, while you have to strain your ears to hear Mamta’s, which I’m sure nobody will do. Their parts, trough, have been composed very good, and are actually catchy, especially the second antara. Mika, as always, eats up most of his words, and in a line says something like “Kiltapille pultapille”. He puts in that unusual dog sound while singing, and it seems more dog-like ever since he sang that wonderfully catchy song ‘Tu Mere Agal Bagal Hai’ (Phata Poster Nikhla Hero)! But sadly, the same magic hasn’t been repeated here. Sohail’s arrangements remind you of ‘Tune Maari Entriyaan’, and I guess he has copy-pasted the same rhythm into this song. The dhols, rock guitars, are all the same. He seems to have added the brass band and Shehnaai. And now, coming to the lyricists! Here, there are not two, not three and not even four, but a total of FIVE lyricists! (Plus, Mamta is one of them!) And what can they offer? A song about lifting up your legs and dancing the whole night! What an amazing concept!! I was really awestruck on hearing the lyrics! Too good! If you think I would say all that, you’re so much mistaken. Judge for yourself. Here are some lines — “Jhoomega body ka har part taang uthake”… So are you telling me that our legs have legs, toes have legs, fingers have legs, our eyes have legs, our ears have legs, our stomach has legs, our pancreas has legs, our appendix has legs, our lungs have legs and everything else has legs? Thanks for the wonderful lesson on anatomy! I never knew all this! 😀 Here’s another one — “Main wine Ki bottle, jismein nasha total, all the guys just want a piece of me”… No comments… So, you get the idea! All the lines are just a mishmash of supposedly “fun” words, but none appeal. It’s just a compilation of lines from various dance songs which have come and gone across the years. A catchy composition, but everything else, boring! Lyrics again, deserve a standing ovation, for giving such an unknown fact about human anatomy!

Mika has already driven us crazy in ‘Taang Uthake’, and now he’s here to compose a song with Millind Gaba, someone whose songs I’ve never liked. This is a Punjabi wedding song, which has a pretty enjoyable composition, but gets boring after a minute, because if the atrocious vocals and lyrics, again! The starting has a dholak portion that sounds like the start of ‘Balam Pichkari’, but just for a second. After that, a very poorly recorded female sangeet portion, only to be disturbed by Bhangra elements like that phurr phurr sound. Mika sings in an utterly intolerable high pitch, which is sure to puncture your eardrums if you hear it for too long. The female singers don’t help. Miss Pooja’s voice isn’t as harsh as usual, but is more irritating than ever. Akira, who had a song in the recent ‘Santa Banta Pvt. Ltd.’, has only one single line in the song, which I suspect is a line that had to be replaced, because it’s smack in the middle of Miss Pooja’s stanza. And her voice is atrocious! Hear it in ‘Ishq Karle Anytime’ (Santa Banta Pvt. Ltd.) for a more detailed hearing experience. Millind and Mika have horribly and terribly recorded the “song”, if I can call it one. It sounds as if we are hearing it on a radio in some garage. Heck, garages pick up a better signal, than this song’s recording makes it sound like! Irritating Bhangra sounds make up most of the arrangements, with harmonium, techno sounds, and the quintessential tumbi pitching in occasionally. The lyrics are by Rani Malik, a pretty renowned lyricist of the 90s, and she writes lyrics that will put all the lyricists of the album to shame. They’ll wonder how they couldn’t come up with such bad lyrics and they’ll curse themselves for not torturing the listeners as much as she has. Here’s an example — “Mauka hai dastoor bhi hai, Par why you standing far. Take me in your arms raja, Like a true sardar”. It is an insult of Hinglish!! Farhad-Sajid too force their names in the lyricists list; I guess they must’ve made up one or two lines in each song, and hence, they feature as lyricists on every song. ATROCIOUS!!!! RIDICULOUS!!! YUCK!! Stepping on cow dung in the village with bare feet is better than hearing this, because at least we can wash our feet, whereas this song won’t even get washed out of your brain!

Tanishk is back after a mediocre and a mindblowing song in ‘Sarbjit’. I had praised him for not making his rock Qawwali ‘Allah Hu Allah’ in ‘Sarbjit’, filmy at all. And lo and behold! Here he comes with a filmy rock Qawwali, just against my wishes. Just as I expected, he overdoes the filminess, and ends up spoiling everything. The singers lineup will not make you think so, by trust me, the singing is horrendous! I’ve never seen Kailash Kher singing so badly, in such an unnecessarily high voice, and whenever I have, it sounded pleasant! Nakash’s talent has been purely wasted by making him wail random “Abbaaaa”‘s all throughout the song, which is a real pest to the ears. Altamash is the most modest, only showing up in the hookline — that too, overshadowed by Kailash’s booming voice. Nakash gets to do an atrociously worded AdLib before the Qawwali actually starts, but he sings it decently. Tanishk’s core composition is pretty boring, too, desperately trying to ape Sohail Sen’s ‘Isq Risk’ (Mere Brother Ki Dulhan) which was leagues ahead, and of a totally different level. The composition is ridiculously high-pitched, and a troublesome one too, at that. It is tooooooo dull and toooooo trying-to-be-emotional. Arrangements too, sound odd. I’ve never heard a shehnaai in a Qawwali before, and it doesn’t sound good, I’ve learned today! The rock element hasn’t been overdone, though, and thankfully, most of the arrangements are the usual tabla and harmonium. The lyrics, yet again, do not impress at all!!! “Bada fake tha pehle, yeh ishq ishq, yeh ishq ishq. Abb nek lagey hai, yeh ishq ishq”. Wow, you must have got a very weak heart, man. “Emotion Ke jo taar hil gaye, kele Ke chhilke jaise chhil Gaye, love mein hum kill Gaye”. This line is trying so hard to be funny.. Hahahaha! Here, I laughed.. Happy? And lines like “Aeroplane Se rail ho Gaye” and “Topper se hum fail ho Gaye”, “Heaven Se hum hell ho Gaye” (pronounced by Kailash as ‘Hail’, so that makes sense, because hail comes from heaven, right?) just degrade the song even more. An insult to the Qawwali genre, a miserable copy of ‘Isq Risk’, an insult to a legend like Kailash, and a waste of his talent. Was expecting better from Tanishk!

You saw how “good” Housefull 3 was. Yes, it was funny. Yes, it is a comedy movie. But comedy movies can have better soundtracks. I think a single composer would’ve done way better on the album! And if they really wanted multiple composers, just to keep on with the trend, I guess, more experienced composers would have done better. In my opinion, Sohail should have done the Qawwali. 😀 Shankar-Ehsaan-Loy and Sajid-Wajid’s albums guaranteed a house full opening for the first two films… Not sure about this one, though!! 😂

Action Jackson is an upcoming Bollywood Masala entertainer flick, directed by the man known for the huge amount of entertainment (and nonsense 😜) in his movies, i.e, Prabhudheva. The film has been produced by Vic Walia, Gordhan Tanwani and Sunil Lulla, and features Ajay Devgn, Sonakshi Sinha, Yami Gautam and debutante Manasvi Mamgai in the lead roles. Prabhudheva’s films are well-known for their entertaining rustic music, that always manages to make us groove, and of course, the picturisations are always so lively and energetic. After working with Sajid-Wajid for two movies, Sachin-Jigar for one movie, and Pritam for his latest movie, and garnering positive reviews for each of the albums, Prabhudheva has settled on Himesh Reshammiya to compose for this movie. It is the first time they are working together, and dynamic and entertaining-to-the-core songs were expected from Himesh, who gave pretty good music for ‘The Xposé’, ‘Humshakals’ and two songs from ‘Kick’ this year. So, how well does the first collaboration between Prabhudheva and Himesh go? Let’s find out!

Himesh has always been and continues to be known as one of the most sensational composers that ever entered Bollywood, giving numerous hits, be it dance tracks or romantic songs. His sensational songs are also, for that matter, pretty weird and confusing and they make you think “This is a hit?!” The exact same thing has happened with this song. Since it is in a Prabhudheva film, it got the little good luck which it did, but I doubt it would have gotten such a status had it been in any other film. First of all, it starts with an annoying and literally keeda-like sound, pretty similar to the sound those insects make at night when they wake you up in the middle of your sweet dream. 😂 Himesh kicks in with an unusually (for him) low-pitched voice, which is apparently meant to sound like a rockstar or something, but fails miserably. Neeti also fails to create any impact, with only the mukhda for her to repeat after Himesh. Though the song has been making huge waves amongst the masses, I don’t see any reason for it to be doing so, because very frankly speaking, it has not many attractive elements at all. Whatever Shabbir Ahmed has called “lyrics”, all I can say about them is that, it seems that he had been kept at gunpoint and forced to hastily scribble the most illogical words he could ever think of and place them in such a way that they would make less sense than a saas-bahu daily soap opera. I guess Prabhudheva didn’t understand what lyrics he approved. 😅 If I had to point out any positive thing about the song, however, I would definitely say that the beats are groovy! Again, the recording could have been a thousand times better, given the music era we are witnessing today! The reprise version in nothing different, except for the fact that it has more lines sung by Neeti, so there is a plus point in it. A song which you cannot ignore, but you can’t do anything about it either! A literal KEEDA!

The second song, sees Himesh re-enter in his typical Punjabi-mode, similar to what he did in the songs of ‘Son Of Sardaar’, but a tad bit less catchy and attractive. A catchy tune, however, does welcome you into the song, and Ankit and Vineet’s voices welcome us very warmly into the song. After that, you would be expecting an awesome build-up to the hookline, but, on the contrary, the hookline abruptly plays and actually seems like some link has been broken between the starting lines and the hookline. The hookline itself has very little oomph, which makes it disapointing considering that it is a collaboration of Himesh and Prabhudheva! One makes tremendously catchy music while the other choreographs sensationally! This song is supposed to be playing in two different situations at the same time, and Sameer has said that it was difficult to achieve that for the song. Well, then Mr. Sameer, I think you don’t know about that song ‘Bol Beliya’ from ‘Kill Dil’ geniusly written by Gulzar! It is just another meaningless mishmash of words. Talking about the vocals, all the singers have sung whatever their part is, great, but some of those lines which they have sung just don’t fit in the song. Firstly, Arya’s rap is not at all catchy, and on top of that, since it is in a Punjabi dance song, it sounds all the more odd and unsuitable. Another thing is that, though Mamta Sharma would have done a great job as the female vocalist, Himesh has insisted on transforming Neeti into Mamta! Thanks for that! Ankit, Vineet and Alam Gir Khan have stood out with their respective parts, while Himesh does join in at the hookline. Definitely better than the album opener, but not yet containing the expected punch of an ideal Himesh Reshammiya song! Another middling effort!

Finally, we get to experience some actual Himesh stuff (by that I mean, catchy and viral!) with the third song in the album! Starting with an extremely catchy and attractive and just beautiful harmonium tune, it instantly grips you and pulls you towards it. The aah aah aah and pop sounds with which the song starts are just too, too appealing. Shalmali acts as the cherry on top, with her sweet, yet naughty vocals. But then comes the ususal Himesh ‘item song’ beats, and the usual ‘repetition’ which HAS to be there in one of Himesh’s songs! (Or does it?) The same beats as ‘Piya Ke Bazaar Mein’ from ‘Humshakals’ can be heard, with the exact same arrangements! What’s more, Himesh is sounding way too high-pitched in this particular song, more than he has ever sounded recently! Because of him, even Shalmali’s nasal voice seems reduced. The lyrics in this song are the exact same case, illogical, irrelevant and height of shamelessness. But that suits the tune, so not much qualms about it. Considering the first two songs, this song definitely excels, but individually, doesn’t seem like an extraordinary composition either. The antaras have no outstanding tune either, and work as boring lengtheners to the good mukhda. The arrangements being the same old stuff, don’t impress much, but as I said, that harmonium loop is something you should not miss! What starts off as an exciting and enjoyable song turns out to be a tiring listen! Dhamakedaar start with a lacklustre continuation!

A sweet 90s-type rhythm of daflis and bagpipe-like tune welcomes us into the next song of the album, a soft romantic duet by Palak Muchhal and Ankit Tiwari. Throughout this year, Himesh has reserved Palak for songs which are not ideally meant for her, and aren’t in her comfort zone. But here, he takes her back to her forté (but that doesn’t mean she’s perfect at it, because that position is still being occupied by Shreya Ghoshal 😃 ) Anyways, the tune is a cute old-fashioned one with many attractive elements, and even by hearing just thirty seconds of the song, you can immediately make out that this is the gem of the album (Not a gem, mind you, but merely the gem of the album!) Ankit and Palak’s voices sound good together, and Ankit sounds better in this song than he does in his own compositions, probably because of the fact that his voice hasn’t been autotuned to disturbance here. 😂 One thing I must point out though, is his terrible diction and pronunciation of certain words. (har jagah ab dikke tu… sounds so odd! Might be bcause the lyrics don’t fit well into the tune or vice versa!) The hookline might irritate some, but I frankly found it awesome and very catchy. Antaras work as well, in giving the song more attractiveness. But yes, the disturbances in the lyrics are not done away with here either! Just try translating the lyrics into English and you’ll get my point. Also, arrangements and recording here isn’t top class either! The tune lacks the universal appeal, and ten years later, you might have forgotten all about this song, and when you hear it, you might just mistake it for some song which released in 1993. The best song of the album, but again, if they would have given more importance to the arrangements, freshness of tune and recording, it would have been a class apart!

Well, to be honest, after hearing the two other songs which Neeti has sung in this album, I wasn’t ready to hear another just because of the terrible fate of the first two. However, I still had some hope, because Neeti is a very talented singer, and I was hoping that she would finally make some mark in the album and leave some legacy for the album behind. 😂 Well, it was just a wrong and ridiculous expectation, and too great an expectation as well. Himesh Reshammiya has literally redefined the rock genre, and that doesn’t necessarily mean he’s enhanced it. The rock guitar tune (which has been lifted from a South song) does entertain to some extent, but when Neeti enters, everything suddenly changes. She has been given such an unattractive, flat, boring and trying-to-be-the-new-cool composition to sing, that I feel utterly sorry for her. The experiments that have been done with her voice by HR fail to impress as well. On top of that, when Shabbir Ahmed comes to write the most absurd words he can think of, then we can rest assured that the song’s fate is bad. He has written any stupid lyrics! I think he thinks that adding bootylicious or django or bloody to the lyrics automatically makes the song sound good! Well, no sir, it isn’t like that; writing lyrics is also an art! The interludes in the song are some of the worst I’ve ever come across, and they don’t actually attract and keep people listening, like interludes are supposed to. Neeraj enters briefly, but fails to set anything right. Ajay Devgn’s mindless dialogues just make the listeners even more irritated. Rock redefined for the worse!

♪ Extra Song♪ AJ ThemeVoice ~ Ajay Devgn

The theme song of the movie, which released last, is surprisingly very entertaining, and unexpectedly catchy! After the disastrous fate of the album, such a comparatively awesome theme was definitely not what I was expecting. But all this praise is mostly just for one bit of the theme, and that is the small harmonium-tabla combo tune that keeps coming to entertain us. The bongo-congo also sounds great. Other instruments like the guitars, and other techno sounds have been used well, but could have been used in a catchier way. Ajay irritates with his dialogues, though. Better than some of the actual full-fledged songs in this album! Enjoy the end credits with this song!

Action Jackson is one of those albums, for which I had huge expectations, and probably that’s why I was so disappointed when the album finally released, and did not meet even half of my expectations. The catchiness, hummability and repeat value which is usually present in a Himesh album, is somehow absent from this album. The lyrics are absurd and the recording is worse than the 90s! Some elements from each song make it overall a decent affair, but I seriously don’t think this album is going to be on people’s playlists for long. The theme song being better than four of the five actual songs, is enough to prove my point and also justify my final rating for this album! What’s more, there isn’t a single song in the album, which I can confidently and proudly call a #5StarHotelSong. So, this ends up as the worst album reviewed on my blog. (And it just had to be a single-composer album by one of the t composers of Bollywood! Uggghh I feel so bad for having to do this..) Hey Prabhu!! Ye Tune Kya Kiya! The HR-Prabhu combo just didn’t work!

Final Rating for This Album:- सा < रे< ग < म < प < ध < नी < सां

Note:- The letter which is underlined is the final rating. Also, please don’t be offended by the low rating…Read my Humshakals and The Xposé reviews to get to know that I’m not at all a HR hater!

Which is your favourite song from Action Jackson? Please vote for it below! 😊

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